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1

Empowering women through theater in Indonesia

100%

Lis M.

Art of the Orient

|

2013

|

vol. 2

221-239

2

Visual art in Indonesia. Introduction

100%

Lis M.

Art of the Orient

|

2014

|

vol. 3

208-222

3

Rok 1965 w Indonezji w spektaklach Papermoon Puppet Theatre z Yogyakarty i filmie Scena zbrodni Joshuy Oppenheimera

100%

Lis M.

Studia Azjatystyczne

|

2015

|

issue 1

64-76

PL

1965 is the date that has been disregarded in the recent history of Indonesia and the world. Gerakan 30 September (30th September Movement), self-appointed organization consisting of representatives of the Indonesian army carried out a failed coup on October 1, 1965, killing six generals. The same day evening the Movement fell and Partai Komunis Indonesia (Indonesian Communist Party) was blamed. In the following weeks communists and their supporters began to be removed from public life being arrested and murdered. The 1965 purges have been read in the West as a victory over communism. In Indonesia they remained taboo for almost half of the century.The paper focuses on showing how the events of 1965 are shown in today's Indonesia and in the word. For Papermoon Puppet Theatre 1965 is a key to understand the past, present and future of their homeland. For Oppenheimer meeting with former criminals has provided an opportunity to make the film about the political system in which genocide was erased from the collective memory of those who survived, and the offenders remain unpunished.

4

«Murwakala» – rytualny «wayang»

100%

Lis M.

Pamiętnik Teatralny

|

2016

|

vol. 65

|

issue 1/2

248-260

EN

As colonial scholars at the turn of the 19th and 20th centuries surmised, the traditional Java shadow theatre, i.e. wayang kulit, probably originated from animistic rituals of prehistoric Java. According to the myth recounting its beginnings, god Wisnu, who had descended on earth as dhalang Kandhabuwana, was the first puppeteer. The story of wayang’s beginnings told in the Murwakala lakon is also a story about the birth and life of Kali, the god of time and destruction. The lakon is performed during the ruwatan ritual which is supposed to cleanse either individual people or entire communities and restore universal harmony. The real world and the world of illusion coexist in the show, and the dhalang, through the presence of the mythical dhalang Kandhabuwana on the screen, is accumulating his power, which will enable him to perform the ceremonial cleansing of the audience.

PL

Tradycyjny jawajski teatr cieni, czyli wayang kulit, prawdopodobnie wywodzi się z animistycznych rytuałów prehistorycznej Jawy, zgodnie z przypuszczeniami kolonialnych badaczy na przełomie XIX i XX wieku. Według mitu opowiadającego o jego początkach pierwszym lalkarzem był bóg Wisnu, który zstąpił na ziemię jako dalang Kandhabuwana. Historia powstania wayangu opowiedziana w lakon Murwakala to także opowieść o narodzinach i życiu Kali, boga czasu i zniszczenia. Lakon wykonywany jest podczas rytuału ruwatan, który ma oczyścić poszczególnych ludzi lub całe społeczności, by przywrócić uniwersalną harmonię. Świat rzeczywisty i świat iluzji współistnieją w spektaklu, a dalang, poprzez obecność mitycznego dalanga Kandhabuwany na ekranie, gromadzi swoją moc, która umożliwi mu dokonanie ceremonialnego oczyszczenia widowni.

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2 Art of the Orient

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4 Lis M.

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Empowering women through theater in Indonesia

Visual art in Indonesia. Introduction

Rok 1965 w Indonezji w spektaklach Papermoon Puppet Theatre z Yogyakarty i filmie Scena zbrodni Joshuy Oppenheimera

«Murwakala» – rytualny «wayang»